Gallery Visit # 2

Step 1: The Exhibition

Questions about the exhibit:

1. What is the title of the exhibit?

Italian Artwork Collections

2. What is the theme of the exhibition?

All the artwork in this hallway is the mastery of Italian painters. There are also two sculptures by Italian artists as well.

Step 2: The Gallery

Questions about the physical space:

1. What type of lighting is used?

Primarily natural light was used in this exhibit but the sky windows were specially treated and contained multiple layers of panes to protect the artworks from damage from UV rays. You couldn’t see through the sky lights, they had a white ceramic-like glow to them. The windows on the walls were specially treated and a special kind of glass as well but they were transparent so that you could see the Louvre courtyard.  This was actually spectacular in the evening as well as the day because you could stare directly at the brightest sunset through windows without hurting your eyes. When the sun went down (and I assume on less sunny days) the sky lights illuminated behind the ‘ceramic’ looking panes with artificial light so it was hard to tell what time of day it was unless you looked out a window.

2. What colors are used on the walls?

The walls in this exhibition were a combination of red and crème marble accents with primarily dark beige colored walls. Being a neutral color the walls did not detract from any of the artwork or draw the viewer’s eye to any particular place in the painting more than another (that wasn’t already intended by the artist.) It also gave a very prestigious characteristic to the masterpieces being displayed.

3. What materials are used in the interior architecture of the space?

I felt as if the whole museum was made of marble, especially this exhibit. The wooden floors were bordered with reddish pink marble. The walls and arches were  detailed with the same marble and the walls were a darker creamy beige that complimented the reddish pink marble accents. This exhibit was one long hallway with tall ceilings but there were wide arches every fifty feet or so giving the appearance of separate sections or rooms. The whole area was symmetrical feeling with the circular couches acting as patricians down the center of the hallway. There were small alcoves towards the end of the hall way that displayed series of small and related works in cases.  

4. How is the movement of the viewer through the gallery space?

The movement is pretty directed and obvious. You walk to the end of the hall down the right side chronologically, and up the left back towards the entrance. The round seating in the middle gives viewers and sketchers a place to sit and observe from any direction they please. The statue was right before the entrance to the room where the Mona Lisa lives and it demands your attention before you move into the most popular room in the museum.

Step 3: The Artwork

 Questions about the artwork:

1. How are the artworks organized?

The artworks are categorized by date. They start in the fifteen hundreds and move chronologically forward to the end of the hall then back up the other side all the way to the 20^th century. There are supposed to be two sculptures but one was on loan to another museum, the sculptures boarder either sides of the entrance to another exhibit where the Mona Lisa is displayed.  

2. How are the artworks similar?

The artworks are similar in that they are all paintings (except one sculpture) and they are all made by Italian artists. Many of the painting have religious connotations or are literal paintings of religious figures such as Jesus or the Virgin Mary.

3. How are the artworks different?

Many of the artists have different styles and techniques. Some of the artists intentions are made totally clear in their paintings and there is little left for interpretation. Other paintings are like a puzzle of separate subjects that must be pieced together for meanings. Some of these meanings are still a mystery and it is up to the analytical viewer to decide why the artist may have painted certain things in certain places. The artworks also differ in size.  

4. How are the artworks framed?

I was surprised by the variety in framing of the artwork. Some of them were in very regal elaborately decorated and gold painted frames, other were in old wooden frames with the original hand painted plaque nailed on that stated the title, artist, and date. I am assuming that all the artworks that could be displayed in their original frames are, this adds authenticity to the works.

5. How are the artworks identified and labeled?

All artworks were identified and labeled by small white plaques right next to or below the works with the title, artist, date, and in some cases the material used i.e. ‘oil on canvas.’

6. What is the proximity of the artwork to each other?

In this exhibition the artworks were fairly evenly spaced. Each painting takes up a fairly equal amount of space down the wall. The only time artwork was gathered together was in small alcove collections where small works from the same artists were displayed together.  

Art Criticism: Describing, Analyzing, and Interpreting Artwork

Artist:     Leonardo Da Vinci

Title of work: Portrait of a Woman

Media: Oil on panel

Date: 1519

Size: 63x45cm

1.   Description – Describe what you see.  (subject matter)?

I see a woman who is slightly turns to the left but her head is turns forward. She appears to be staring just above the right had side of the viewer. She is wearing a single gemmed head piece and a red gown. She is behind a wooden patrician of some kind. Her hair is neatly pulled back and she is wearing necklace coiled several times around her neck. The background she sits in front of is black. Her mouth forms almost a straight line, not a smile or a frown.

2.   Formal analysis – (form)  What principles and elements were used and how are they used?

This piece uses the element of value with the lightness in her skin and the color in her dress contrasting with the stark black background. There is use of space in that the subject takes up most of the painting and is the center of the work. Texture is seen in the detail of her clothing and the wooden patrician. Da Vinci achieved the principle of unity with the painting harmoniously coming together to show one clearly defined subject.

3.   Bracketing - Is there anything in or about this work that reminds you of anything else? Do you see any symbols, metaphors, or allegories?  (iconography)

This work reminds me of the Mona Lisa, also by Da Vinci. This woman has the same vague smile yet she remains unnamed and without a lush landscape painted behind her. The gem she is wearing could symbolize wealth and the fact that she is not staring at the viewer but above them could imply vulnerability.

4.   Interpretation - (content)  What do you think the artist was trying to say?

I personally think that Da Vinci was simply trying to paint a beautiful woman. He may have painted her with no background to make the essence of her beauty stand out, or perhaps he got lazy or wanted to finish his painting faster. I feel that if the subject could say anything now, she would be jealous that the Mona Lisa got a whole wall and so much attention while she shared a hallway with dozens of other paintings  and wasn’t even behind glassJ

Art Criticism: Describing, Analyzing, and Interpreting Artwork

Artist:     Alessio Baldovinetti

Title of work: Madonna and Child

Media: Oil on wood

Date: 1464

Size: 63x45cm

1.   Description – Describe what you see.  (subject matter)?

I see a woman with fair skin and raised eyebrows clasping her hands together flatly. She is looking down at a small infant child who is holding and looking at a white ribbon wrapped around his mid section. She is wearing a blue and red cloak and sitting down; the boy is wearing only a marble hat and sits on a marble ledge in front of her. There is a landscape in the background that includes mountains, rivers, and trees.

2.   Formal analysis – (form)  What principles and elements were used and how are they used?

The element of color is used to keep the foreground and the subjects in the spotlight while the background is kept distant and uninviting to the eye with dull and vaguely contrasting colors. The principle of proportion is used with Madonna taking most of the panel and the baby Jesus only taking up a small corner of the panel. The work appears finished and harmonious thus achieving the principle of unity.

3.   Bracketing - Is there anything in or about this work that reminds you of anything else? Do you see any symbols, metaphors, or allegories?  (iconography)

This picture reminds me of dozens of other Madonna and baby Jesus pictures that I saw at the Louvre and other museums. This symbolizes the love the Virgin had for her baby. Jesus is positioned in such a way that his body appears to be forming a cross; this is a reference to his much later fate. Her face seems calm and content as if she knows this fate and accepts it.

4.     Interpretation - (content)  What do you think the artist was trying to say?

I think the artist was trying to illustrate the sacrifice made on part of both Jesus and the Virgin Mary. I believe he was trying to illustrate the strength she must have had to have in her face by showing her praying and seemingly knowing the outcome of her babies life. The baby seems calm and playful but has such a solemn expression on his face it makes me think the artist wished to show his all knowing persona and the importance of his purpose, even as an infant.

Art Criticism: Describing, Analyzing, and Interpreting Artwork

Artist:  Antonello Da Messina

Title of work: Portriat of a Man

Media: Oil on wood

Date: 1475

Size: 35x38 cm

1.   Description – Describe what you see.  (subject matter)?

I see a man with a hat on faced to the right but looking straight at the viewer. He has a scar on his upper lip. He has brown hair, a black hat, a black coat, and green eyes. He has fair skin and a slight shadow of facial hair. The background is all black.

2.   Formal analysis – (form)  What principles and elements were used and how are they used?

The element of value was not achieved as much with both the background and the subject’s hat, coat, and hair being dark. The subjects outline becomes blurred with the background. The principle of emphasis is certainly achieved with the viewer’s immediate attention being drawn to the face of the subject. Variety is present in the scar on his lip and his five o clock shadow.

3.   Bracketing - Is there anything in or about this work that reminds you of anything else? Do you see any symbols, metaphors, or allegories?  (iconography)

This picture reminds me of Da Vinci’s Portrait of a Woman with the same all black background and one subject in the center turned slightly in one direction but facing the audience. I don’t think there is much metaphor or symbolism in this portrait but there is possibly meaning or statement in purposely painting a person as they are and not hiding flaws or scars with the brush.

4.     Interpretation - (content)  What do you think the artist was trying to say?

I believe the artist was trying to illustrate the proud, confident, youthful, and brave characteristics of this young man. I think the face was the most important aspect to Da Messina and that’s why the outline is not definite against the background. I also believe Messina wished to perhaps accentuate the scar more by placing the view of that side of his subject’s face closer. Maybe the subject was proud of this ‘battle wound’ and requested it be obvious in the portrait. His stature is pretty confident and demanding as well which contributes to my theory. 

 Answer this question: What did you think of visiting the Gallery and purposefully looking at the exhibition from a different perspective - the physical space, the architecture, theme, etc.?


The entire experience of visiting the gallery was incredible. I wasn't aware of the project requirements at the time I visited the Louvre however I took an audio tour that was called the 'curator's tour.' Just by happy accident. It told me to take note of where things were and why. It discussed the reason for the placement of certain masterpieces in certain wings of the museum. It even warned me where there would be lots of people, why there were windows in certain places, why certain colors were chosen for walls etc. This was great because the Louvre being one of the most impressive museums in the world I couldn't imagine the thought that goes into planning the layout and design. It was easy to recall the architecture and physical space because that was almost as important as the works that it displays. We spent all day and it simply wasn't enough. I can't wait to go back!